Perhaps interpreters would be as desirous to play new music as they are playing standard repertoire if they could “own” the performance more than they currently do.
New World Records will release two CDs per year of live recordings of recent American repertoire performed by the New York Philharmonic.
Is there a universally adequate musical solution to page turns?
At home, I drink red wine while hearing things like the three carefully intertwined lines of counterpoint in the fourth movement of Mozart’s Divertimento for String Trio all the time, but being able to do so during a live performance makes the music breathe differently.
I’ve been thinking a lot recently about John Cage’s final definition of music, which is an extremely compact two-word koan: sounds heard.
Blogging has helped make us more of a community, but it is just a tool.
Why do so many composers still insist on numbering their works rather than naming them?
Here’s the skinny on Hong Kong’s music scene.